简介
出生证明 HD中字5.0
出生证明 HD中字5.0
5.0
网友评分
844次评分
5.0
网友评分
844次评分
影片信息
出生证明
- 状态：HD
- 主演：Andrzej Banaszewski/Beata Barszczewska/马里乌什·德莫霍夫斯基/
- 导演：斯坦尼斯拉夫·罗泽维格/
- 年份：1961
- 地区：其它
- 类型：战争/
- 时长：内详
- 上映：未知
- 语言：其它
- 更新：2025-06-09 13:12
- 简介： In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth." The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era. The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved. The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair. At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance? Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'." After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others. In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."
为你推荐
换一换-
更新至第26集9.0 未知
-
更新至9集7.0 冢本晋也/中川雅也/中村达也/中村优子/
-
更新至13集4.0 正当理由/黑狱大平反/
-
正片更新至8集8.0 缉毒风暴/冬去春来/
-
正片已完结4.0 斗罗大陆之剑道尘心/
-
HD中字3.0 Apocalypse in the Tropics/
-
豆瓣高分更新至24集1.0 冈田茉莉子/松田优作/鼻肇/山中乔/岩城滉一/
-
HD3.0 禁忌的画像：卡拉瓦乔之影(台)/追杀卡拉瓦乔/Caravaggio's Shadow/
-
全1集2.0 汤姆·克鲁斯/肯尼思·布拉纳/比尔·奈伊/汤姆·威尔金森/卡里斯·范·侯登/托马斯·克莱舒曼/特伦斯·斯坦普/艾迪·伊扎德/凯文·麦克纳利/克里斯蒂安·贝克尔/杰米·帕克/戴维·鲍姆伯/汤姆·霍兰德/大卫·斯科菲尔德/肯内斯·库兰汉姆/哈里纳·雷金/维尔纳·德恩/哈维·弗里德曼/马提亚斯·施维赫夫/瓦尔德马·科布斯/弗里兰·坦科斯/伊恩·麦克尼奇/丹尼·韦伯/克里斯·拉金/Philipp von Schulthess/沃坦·维尔克·默林/克里斯蒂安·奥列佛/伯纳德·希尔/朱利安·莫里斯/蒂姆·威廉姆斯/尤/
-
HD7.0 马诺斯·卡特拉基斯/梅丽·赫罗诺普卢/迪奥尼西斯·帕帕扬诺普洛斯/多拉·瓦拉那基/朱利奥·布洛吉/米哈利斯·扬纳托斯/瓦斯里斯·查格罗斯/扬尼斯·菲里奥斯/
-
豆瓣高分全1集3.0 超级英雄也可以玩轻功/
-
HD5.0 尼斯湖水怪/水马：深水传奇/The Water Horse: Legend of the Deep/尼斯湖怪：深水传说/
-
HD8.0 无辜的人/
-
HD10.0 Days Before the Millenium/
-
全1集3.0 瑞恩·高斯林/艾玛·斯通/约翰·传奇/罗丝玛丽·德薇特/芬·维特洛克/杰西卡·罗德/水野索诺娅/考莉·埃尔南德斯/J·K·西蒙斯/汤姆·艾弗瑞特·斯科特/米根·费伊/达蒙·冈普顿/贾森·福克斯/乔什·平茨/艾米·科恩/特里·沃尔特斯/汤姆·谢尔顿/信达·亚当斯/克劳丁·克劳迪奥/D·A·瓦拉赫/特雷弗·里斯奥尔/奥莉维亚·汉密尔顿/安娜·查泽雷/马里乌斯·代·弗里斯/妮科尔·库隆/迈尔斯·安德森/约翰·辛德曼/瓦拉里·雷·米勒/基夫·范登·霍伊维尔/佐伊·霍尔/登普西·帕皮恩/辛德拉·车/
-
全1集3.0 汤姆·汉克斯/马克·里朗斯/斯科特·/谢泼德/艾米·莱安/塞巴斯蒂安·科赫/阿伦·阿尔达/奥斯汀·斯托维尔/比利·马格努森/伊芙·休森/杰西·普莱蒙/迈克尔·加斯顿/皮特·麦克罗比/多米尼克·隆巴多兹/布莱恩·胡奇森/约书亚·哈尔托/米哈伊尔高里沃/
-
HD6.0 禁断之百合(港)/白百合之恋(台)/White Lily/白百合/ホワイトリリー/
-
豆瓣高分HD9.0 Taifu Club Typhoon Club/
-
HD5.0 原田芳雄/松田龙平/千原浩史/井上顺/板尾创路/国村隼/京野琴美/磨赤儿/松隆子/永山瑛太/藤木悠/今宿麻美/伊东美咲/北村一辉/
-
全1集6.0 查宁·塔图姆/珍娜·迪万/马里奥/德鲁·西德拉/瑞切尔·格里菲斯/乔什·亨德森/蒂姆·拉卡特纳/艾莉森·斯通勒/Heavy D/迪尔德丽·罗夫乔/安妮·弗莱彻/
-
全1集1.0 詹妮弗·提莉/吉娜·格申/乔·潘托里亚诺/约翰·P.瑞安/克里斯托弗·米洛尼/
-
全1集6.0 瑞安·古兹曼/布莱恩娜·伊维根/亚当·G·瑟瓦尼/米沙·加布里埃尔·汉密尔顿/史蒂芬·布斯/斯蒂芬·斯特沃·琼斯/大卫·谢里曼/玛丽·科达/克里斯多夫·斯科特/查德·史密斯/法昆多·隆巴德/马汀·隆巴德/艾莉森·斯通勒/伊莎贝拉·米珂/
-
全1集10.0 瑞安·古兹曼/凯瑟琳·麦考米克/杰西卡·瓜迪克斯/查德·史密斯/史蒂芬·布斯/莫嘉娜·斯奈普/梅根·布恩/克利欧佩特拉·科尔曼/
-
全1集3.0 瑞奇·马兰博瑞/亚当·G·瑟瓦尼/沙妮·文森/艾莉森·斯通勒/Keith Stallworth/史蒂芬·布斯/乔·/斯拉夫特/丹尼尔·克劳德·坎波斯/
-
全1集6.0 布莱恩娜·伊维根/罗伯特·霍夫曼/亚当·G·瑟瓦尼/凯茜·温图拉/丹妮尔·柏兰科/Christopher Scott/
-
HD6.0 映像诗：日本里山神秘水上花园/2/NHKスペシャル/映像詩/里山II/命めぐる水辺2008/映像诗：日本里山神秘水上花园/2/NHKスペシャル/映像詩/里山II/命めぐる水辺/
-
豆瓣高分HD8.0 海街女孩日记(港)//Kamakura/Diary//Umimachi/Diary//Our/Little/Sister/
-
HD2.0 大卫·爱登堡/
-
HD2.0 品川彻/常盘贵子/村田雄浩/寺岛咲/松重丰/洼冢俊介/山崎纮菜/柴山智加/内田周作/细山田隆人/小笠原真理子/イ・ヨンスク/大久保運/小磯勝弥/斉藤とも子/猪股南/相澤一成/パスカルズ/根岸季衣/原田夏希/左时枝/安达祐实/伊藤孝雄/
-
HD1.0 凯瑟琳·泽塔-琼斯/贾斯汀·巴萨/约翰·施奈德/林恩·惠特菲尔德/